Pub Date : 2019-01-01DOI: 10.21315/WS2019.18.SUPP.1.8
Carren Hong Kim Lan, Nur Hilyati Ramli, Mumtaz Begum Aboo Backer, Muhizam Mustafa, Mohd Najib Abdullah Sani
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Pub Date : 2019-01-01DOI: 10.21315/ws2019.18.supp.1.4
J. Othman, Pravina Manoharan
This study explores the theoretical basis for the music composition that accompanies the theatre play "Bermulanya di Sini...Kedah Tua". One of the main approaches of the music composition is the symbolic associations of gendering that can be derived from the narrative text of the play. Through referencing various arguments regarding the idea of gender, particularly the concept of gender as discursive and as the somatic, the music composition approach addresses the meaning of gendering and signification symbolically. In general, the formulation for the referencing of gender in the music does not privilege either one of the two categories of argument regarding gender as either textual or a corporeal factor. These structuring of the somatic are taken into consideration with the artistic license taken advantage in the composition process. Essentially, the music reflects the richness of gender associations that can be derived from the narrative text to illustrate that gendering is a malleable signifier.
本研究探讨了舞台剧《Bermulanya di Sini》配乐的理论基础。吉打州图阿”。音乐创作的主要方法之一是性别的象征性联想，这可以从戏剧的叙事文本中得到。通过引用关于性别概念的各种争论，特别是性别作为话语和躯体的概念，音乐创作方法象征性地解决了性别和意义的意义。一般来说，在音乐中引用性别的提法并没有赋予两种观点中的任何一种特权，即性别是文本因素还是物质因素。这些身体的结构是在构图过程中考虑到的，并利用了艺术许可。从本质上讲，音乐反映了从叙事文本中衍生出来的丰富的性别联想，以说明性别是一种可塑的能指。
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Pub Date : 2019-01-01DOI: 10.21315/WS2019.18.SUPP.1.7
M. Mustafa, R. Chin
Wilkie (2004) in her research "Out of Place" discussed that theatre has a long history of experimenting with a variety of spatial configurations and visual relationships. However, it is only in the last two decades that the label "site-specific" has been applied to theatrical performance, indicating a new mode of place-bound practice. This paper looks at the association between a performative engagement with place and space and the role of visuals and scenography; an enhancement of a site-specific spatial formatted performance. The study also looks at the function of images as one area of the theatrical's "visual systems" that affects the creation and reception of a play. "Bermulanya Di Sini...Kedah Tua" is a contemporary theatrical research project based upon the archaeological findings in Lembah Bujang. The performance combines three different fields of study: performance, archaeology, and history. This research combines the idea of theory and practice to decode literary and historical sources by triangulating the relationship between archaeological artefacts, architectural space and time.
Wilkie(2004)在她的研究“Out of Place”中讨论了戏剧在实验各种空间配置和视觉关系方面有着悠久的历史。然而，直到最近二十年，“特定地点”的标签才被应用到戏剧表演中，这表明了一种新的地点限制实践模式。本文着眼于与场所和空间的表演参与与视觉和场景的作用之间的联系;增强了特定于站点的空间格式性能。该研究还关注了图像作为戏剧“视觉系统”的一个领域的功能，它影响戏剧的创作和接受。“Bermulanya Di Sini……“kedaah Tua”是一个基于在Lembah Bujang的考古发现的当代戏剧研究项目。演出结合了三个不同的研究领域:表演、考古和历史。本研究将理论与实践相结合，通过三角测量考古文物与建筑空间和时间之间的关系来解码文学和历史来源。
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Pub Date : 2019-01-01DOI: 10.21315/WS2019.18.SUPP.1.5
Pravina Manoharan, J. Othman
{"title":"The Soundscape of \"Bermulanya Di Sini…Kedah Tua\"!","authors":"Pravina Manoharan, J. Othman","doi":"10.21315/WS2019.18.SUPP.1.5","DOIUrl":"https://doi.org/10.21315/WS2019.18.SUPP.1.5","url":null,"abstract":"","PeriodicalId":40376,"journal":{"name":"Wacana Seni-Journal of Art Discourse","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67732957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.21315/WS2019.18.SUPP.1.6
M. Sani, M. Mustafa
"Bermulanya Di Sini...Kedah Tua" demonstrates a historical data interpretation of the Kedah Tua early society at Sungai Batu within the artistic context of stage performance demonstrating series of dance and stage act. The purpose of this paper is to elucidate the props making process for the stage performance from a designer-maker point of view, by demonstrating the philosophy of body movements and the connection to object designs in space. Furthermore, the props making encompasses the imitation and construction of two scaled building artefacts which are the ancient iron smelting furnace and the circular ritual monument that significantly embodies the early civilisation of Kedah Tua society between the 2nd and 6th CE. The research-design team has successfully constructed the ancient buildings' props using wire structured paper maché technique and Styrofoam sheets assembling in various scaled sizes. In order to accommodate the performance need on the stage, the modular concept have been introduced in the design of the props by embedding the elements of object's practicality, portability and, easy assembling and disassembling.
“Bermulanya Di Sini……“keah Tua”在舞台表演的艺术背景下展示了keah Tua早期社会的历史数据解释，展示了一系列舞蹈和舞台表演。本文的目的是通过展示身体动作的哲学以及与空间中物体设计的联系，从设计师-制造者的角度来阐述舞台表演道具的制作过程。此外，道具制作还包括模仿和建造两个规模较大的建筑人工制品，即古代炼铁炉和圆形仪式纪念碑，它们显著地体现了公元2至6世纪吉打图亚社会的早期文明。研究设计团队利用金属丝结构的纸机技术和不同尺寸的聚苯乙烯泡沫板成功地构建了古建筑的道具。为了适应舞台上的表演需要，在道具的设计中引入了模块化的概念，嵌入了物品的实用性、便携性、易拆装性等元素。
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Pub Date : 2019-01-01DOI: 10.21315/WS2019.18.SUPP.1.2
M. Backer, Halimi Mohd Noh, Husaini Yaacob
"Bermulanya Di Sini...Kedah Tua" is an artistic theatrical production, the outcome of a collaborative effort between performers and archeologists at the Lembah Bujang, Kedah. The creation of the script for the production goes with the same title of "Bermulanya Di Sini...Kedah Tua" is inspired by historical narratives and literary sources derived from the ancient civilisation at Lembah Bujang also known as Kedah Tua. "Bermulanya Di Sini...Kedah Tua" translated as Kedah Tua...where it all began, marks the beginning of a new historical discovery, especially at Sungai Batu, an area in Lembah Bujang to be recognised as the oldest ancient civilisation in Southeast Asia. The key steps involved in creating the script for the theatrical production were (1) translating archaeological artefacts and architectural remains at Kedah Tua and (2) interpreting existing literary works, historical narratives, and artists impression about Kedah Tua. The methodology applied in creating the script is a combination of practice led research and textual analysis methods; a systematic method for describing, interpreting, analysing, and evaluating performative interpretations of the available field texts which provided a framework for a re-imagined scenario and also the artistic license to stretch the boundaries of the historical discourse. This method allowed the script to picture the setting of Kedah Tua between 2nd CE and 6th CE, which further establishes a premise upon the varying performance elements such as the plot, diction, and characterisation.
“Bermulanya Di Sini……“kedaah Tua”是一种艺术戏剧作品，是表演者和考古学家在kedaah Lembah Bujang合作努力的结果。制作剧本的创作以“Bermulanya Di Sini……”“keah Tua”的灵感来自于历史叙述和文学来源，这些故事和文学来源来自于Lembah Bujang的古代文明，也被称为keah Tua。“Bermulanya Di Sini……keah Tua”翻译成keah Tua…这一切的开始，标志着一个新的历史发现的开始，尤其是在Sungai Batu，一个被认为是东南亚最古老的古代文明的地区。创作戏剧剧本的关键步骤是(1)翻译吉打都亚的考古文物和建筑遗迹，(2)解释现有的文学作品、历史叙述和艺术家对吉打都亚的印象。在创作剧本时所采用的方法是实践主导的研究和文本分析方法的结合;这是一种系统的方法，用于描述、解释、分析和评估对现有现场文本的表演性解释，它为重新想象的场景提供了框架，也为扩展历史话语的边界提供了艺术许可。这种方法使剧本能够描绘出公元2年至公元6年之间的吉打都亚的背景，这进一步建立了一个基于不同表演元素的前提，如情节，措辞和人物塑造。
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Pub Date : 2019-01-01DOI: 10.21315/ws2019.18.supp.1.3
Nurazleena Ramli, M. Backer, Pravina Manoharan
This article presents a performative reflection of the archaeological discoveries from Kedah Tua's early civilisation envisioned through the site-specific theatrical project entitled "Bermulanya Di Sini...Kedah Tua". Different elements from archaeological excavations were selected and adapted into a performance project by way of the curation of theatrical movements. The interpretation of the archaeological findings is translated using specific elements from the study of performing arts such as movement, space, and time to help simplify the dissemination of an otherwise complex knowledge of historical data. The movements choreographed for the different dance scenes and overall performance are based on the archaeological findings of metal, monuments, and an industrialised civilisation. Recent interest in performing arts as a reflection of the archaeological discoveries can be seen as an attempt to broaden the scope of archaeology as a discipline to encompass the totality of the human experience. This collaborative work between the field of archaeology and performance presents choreographers with interesting approaches in exploring notions concerning the performing arts.
本文通过名为“Bermulanya Di Sini…”的特定地点戏剧项目，展示了吉打都亚早期文明考古发现的表演反映。吉打州图阿”。从考古发掘中选择不同的元素，通过戏剧动作的策划，将其改编成一个表演项目。对考古发现的解释使用了表演艺术研究中的特定元素，如运动、空间和时间，以帮助简化对历史数据的复杂知识的传播。为不同的舞蹈场景和整体表演编排的动作是基于金属，纪念碑和工业化文明的考古发现。最近对作为考古发现反映的表演艺术的兴趣可以被视为一种尝试，以扩大考古学作为一门学科的范围，以涵盖人类经验的整体。考古学和表演领域的合作为编舞家们提供了探索表演艺术概念的有趣方法。
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Pub Date : 2019-01-01DOI: 10.21315/ws2019.18.supp.1.1
M. Saidin, Shaiful Shahidan
This paper dwells on the issues and prospects of performing arts and its context in Malaysian archaeology. The amalgamation of performing arts and scientific archaeological data and interpretation could be further translated into different ideas and products. The approach of performing arts taking place as a tool to relay archaeological information is new and still scarcely used in Malaysia. The recent discovery of the Sungai Batu site at Merbok, Kedah opened up many new platforms for collaborative research especially between the fields of archaeology and performing arts. The amalgamation between the science and arts added to the wealth of knowledge about the civilisations that once flourished in the area that represented Kedah Tua (Ancient Kedah). Evidently, philosophy and culture are reflected in arts and design of each and every single artefact, structure, and feature. The methodology used in this research to interpret scientific data to the masses in an artistic manner was through theatre. Findings showed that theatre (and artistic license attached to it) as a tool of performing arts was able to informally present the interpretation of archaeological discoveries at Kedah Tua to the audience in a non-academic setting yet engaging and at the same time communicating the re-imagined stories based on the archaeological findings in a much entertaining manner.
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